A deep dive into the pages of The Core, a free weekly zine chronicling Adelaide’s club and street culture, reveals a thriving ecosystem of sound, style, and community in the final weeks of July 1993. The city’s electronic music scene was galvanized by the highly anticipated “We Are The Future” rave, which brought together premier local talent for an all-night spectacle. This major event was anchored by the return of hometown heroes The System AD from England and the emergence of new acts like jazz-fusion artist Al Bare, painting a vivid picture of a scene rich with both established history and forward momentum.
Feature Event: We Are The Future
“We Are The Future” was positioned as a landmark event for Adelaide’s rave scene, a large-scale gathering designed to celebrate the local talent that formed the backbone of the city’s electronic music community. Scheduled for Saturday, July 24th, at the expansive Cheltenham Racecourse Function Centre, the party promised a “total immersion environment” that aimed to capture the very essence of Adelaide’s cultural identity at the time, connecting its past to its present.
The event’s concept was ambitious, reflecting a city in transition. The decor was planned to represent “the world that Adelaide is today,” contrasting the old with the new by referencing a lineage of iconic local clubs: Bolero, Mascot, Control, Disco, Galaxy, and Heaven. This historical nod was paired with a state-of-the-art production, including a “3-OK sound system specially designed for the room” and the “CCC Cyber Car Control.” Beyond the main dancefloor, the event promised a host of unique attractions, including one of the “world’s biggest birthday cakes,” an entire room dedicated to arcade games, and official merchandising stalls, ensuring a comprehensive experience for attendees. This theme of honoring the past while pushing forward was embodied by the week’s key artists: The System AD representing an established, internationally recognized sound, and Al Bare heralding a new, genre-bending future.
Event Details:
- Date: Saturday, July 24th, 1993
- Time: 10:00 PM to 8:00 AM
- Venue: Cheltenham Racecourse Function Centre, Corner of Cheltenham Parade and Torrens Road
- Tickets: $20 presale from Central Station Records and Austicket outlets, or $25 at the door. Photo ID was a mandatory requirement for entry.
The primary draw for the hundreds expected to attend was, of course, the formidable lineup of artists scheduled to perform throughout the night.
The Lineup
The DJ schedule for “We Are The Future” was a showcase of Adelaide’s finest talent, promising a continuous flow of music for ten straight hours.
| Set Time | Artist/s |
| 10:00 PM | PMA Intro |
| 10:30 PM | Production by Maestro D |
| 11:00 PM | HMC |
| 12:15 AM | Brendon |
| 01:30 AM | Aquila |
| 02:30 AM | Maas Unconscious Live |
| 03:00 AM | Angus |
| 03:30 AM | The System AD |
| 05:30 AM | Guest DJs |
| 06:30 AM | Angus |
In addition to the extensive DJ roster, the event featured a crucial live performance from The System AD and was hosted by renowned MCs Maestro D & Tim.
The Controversy Behind the Date
The scheduling of “We Are The Future” was not without its complications. The event was originally planned for July 3rd but was moved to July 24th after it became clear it would clash with another major party, “Independance 2.” The organizers’ decision to reschedule offers a fascinating insight into a scene attempting to manage its own growth. In their own words, they “changed our date to avoid bloodshed and Larger Than Life tit for tat business as usual.” This statement suggests a conscious effort to preserve community cohesion and avoid the kind of commercial rivalries that could fracture a smaller, tight-knit scene.
This focus on local talent, particularly headliners like The System AD, underscored the depth of Adelaide’s scene, which was further defined by the individual artists making an impact that week.
Artist Spotlights of the Week
Beyond the single-night spectacle of a massive rave, the pulse of Adelaide’s music culture in late July 1993 could be measured by the activity of its key artists. The week was particularly significant for two acts embodying the scene’s dynamic of past and future: the triumphant return of established electronic act The System AD and the promising debut of jazz-fusion innovator Al Bare.
The System AD: Back for the Future
Having recently returned to Adelaide after a year in England, The System AD (featuring MPK) made an immediate and significant impact. Their week was a whirlwind of high-profile performances, re-establishing their connection with their hometown audience. Their schedule included a DJ residency spot for MPK at the “Discovery!” club night on Thursday; a headline live performance at “Total Recall” at The Ark on Friday—billed as their “last official club performance before RAVE’N and returning to London”—and the prime-time live slot at the “We Are The Future” rave on Saturday.
In an interview, MPK reflected on his experiences abroad, drawing a sharp contrast between the English and Adelaide dance scenes. He described a recent 3,000-person international guest artist event in England as “hectic” and noted the significant differences in scale, laws, and police interactions. On his musical direction, MPK offered a nuanced view that revealed his preference for a harder sound:
“I do listen to some of the stuff at the moment like Loaded records style stuff etc (big ding it to DJ Brendon) but I find it’s very hard to work with, that’s why he’s playing the ‘pop’ dance and I’m playing pianobreaks to hard, stomper music.”
Despite his international experience, MPK remained highly supportive of his local peers. He asserted that Adelaide DJs were “one of the highest standard in Australia,” an endorsement that reinforced the quality of the talent showcased at events like “We Are The Future.” The System AD’s concentrated series of performances cemented their status as leading figures in the city’s techno scene.
Al Bare: Bringing Jazz to Australia
While The System AD represented the established techno sound, emerging artist Al Bare was introducing a new flavor to Adelaide’s musical palate. His style was characterized as a “cross-over between dance music and listening music,” a blend of “funky, tasty, deep grooves” with “hints of classic Acid Jazz.” As the zine noted, it was music that “you can also put it on and do the dirty thing you want without it getting in your way.” Operating under a “nom de plume,” Al Bare took a fiercely independent approach, establishing his own label, Holy Cow Records, to release his debut self-titled, eleven-track CD album, distributed nationally by Shock Records.
When faced with comparisons to international acid jazz artists like Ronny Jordan, Al Bare was resolute about his artistic identity, stating:
“my influences are my influences and I frankly don’t think about it when I write.”
With plans for a second CD and an eight-piece live band in development, Al Bare was poised for a breakthrough. His debut live performance was scheduled for The Synagogue on Friday, 30th of July, with a call to action for fans of acts like “The Juice Boys” and “Skankhour” to witness the arrival of this new sound.
These two artists, operating in different but complementary spheres, demonstrate the diversity of Adelaide’s music scene, which was supported by a robust network of weekly club nights.
Adelaide’s Weekly Club Scene
Beyond the major headliners and feature events, the week of July 21, 1993, was filled with a diverse array of regular and special club nights across Adelaide. From intimate weeknight gatherings to large weekend productions, the city’s venues offered a consistent platform for local DJs and catered to a wide spectrum of musical tastes.
Highlighted Nights and Events
NATION at STATE
Set for the following Saturday, July 31st, “NATION” was a major upcoming event presented by Central Station Records. Billed as a “3 room extension up to the minute music of the entire nation state,” the party promised a massive experience featuring a lineup of DJs from across the country, including George Vagas (Sydney), Guy Uppiah (Melbourne), and Adelaide’s own Uzi and Nigel.
Dance 100 Highlights
The “Dance 100” brand hosted a popular Wednesday night at Pier’s Sagretry, with DJs Nigel and Dr Des. The event also featured a live cross to the national youth radio station JJJ for its “Radio Activity” program, connecting Adelaide’s local scene to a broader Australian audience.
Total Recall at The Ark
A review of the previous Friday’s “Total Recall” event at The Ark confirmed it was a “huge night.” Headliners The System AD played a dynamic two-hour live set, and the club was packed until its 5 AM closing time. The atmosphere was described as “nothing but exciting,” with supporting sets from DJ Brendon and hosting by MCs Tim and Maestro D.
Discovery! at sixty nine light square city
The weekly Thursday night event “Discovery!” offered a reliable midweek destination for clubbers with a compelling economy: “FREE ENTRY 9-10 $1 SCHOONERS & CHAMPAGNE 10-11 & 12-1.” It featured a strong resident lineup of DJs ATB & MPK, along with MCs Maestro D & Tim.
S-KAL-8 at Escalator
On Friday, July 23rd, the Escalator club in Salisbury hosted “S-KAL-8.” The night featured DJs Jason, Gary & Guest Nigel and boasted a unique technical feature: “Adelaide’s only intelligent laser system.”
Weekly Gig Guide (July 22 – July 28)
The following is a consolidated guide to the club nights happening across Adelaide during this bustling week in July.
- Thursday 22nd July
- Astor – DJs Phillip and M.
- Le Rox – “Reality” with DJ Corey
- Boltz – DJs Mark D and Steve H
- Botanic – DJ Ciacia
- Discovery! – DJs ATB & MPK, MCs Maestro D & Tim
- Heaven – Raga’N’Town with DJs James Ingram, Steve Papas & Mad B
- Lemmy’s – Contagious with DJs Steve Hopper and Steve Chial
- Morphett’s at the Morphett Vale Tavern – DJs Arms and Jason
- 151 Melbourne Street – Deep & Funky with DJs GT+H and PLD
- Underground Solution at Synagogue – DJs HMC and Ph.D
- Friday 23rd July
- The Ark – DJs The System AD, Brendon, PMA and Uzi, MCs Maestro D and Tim
- The Cargo – DJs HMC and The Guruvians
- Escalator – S-KAL-8 with DJs Jason, Gary & Guest Nigel
- Heaven – The Club with DJs James Ingram and Steve Hopper
- Jason’s at Tivoli – DJ HMC
- New Jack City – DJs Therio and Diamond
- 151 Melbourne Street – DJs Griz
- Unified European House with DJs Brendon
- Royal Hotel – DJs Steve Chial and Jules
- Saturday 24th July
- Astor – DJs Tony M
- The Big Ticket – Dance Club with DJs Corey and Adam
- Bio-Hazard at Heaven – DJs HMC, Angela, Brendon, PMA, The System AD, MCs Maestro D and Tim
- Bubba Club at the Cargo – DJs HMC, B.J.
- Empire – Progressive House with Freeze and Angelo, MC Scott T
- Cheltenham Racecourse – We Are The Future
- Le Rox – “Frenzy” at Unley, DJs The Gov and The Question, Angus, PhD and ATB
- McMahon’s – DJs Tony M
- New Jack City – DJs Therio and Diamond
- 151 Melbourne Street – Back to Basics
- Psychodrama – Primary with DJ Uzi
- S.T.A.T.E. at the Richmond – DJs George Vagas, Uzi and Nigel
- Synagogue – DJs GT, HMC, Brendon, Angus, PMA
- Sunday 25th July
- Astor – Re-lax with DJ Mark
- Le Rox – DJ Mark with Reverb
- Cargo – Party with Bruce Wilson, Midstar and the Sega Roadshow
- Heaven – DJs GTB and Edbo
- Monday 26th July
- Edithburgh – React with DJs Griz and Ed
- Tuesday 27th July
- Astor – Tuned with DJs Travis and Jason
- Exeter – “Tuned” with DJs Travis and Jason
- Bubba Hotel – DJ Chuck Choc
- Disco – EXIT QA
- Wednesday 28th July
- Astor – “Beyond” with DJs F-Nesis and Tim Soul
- Austrian – Grooves’N’Tunes with DJs Cool Mint, M.F. Code
- Bubba Hotel – DJ Chuck Choc
- Chili-Club – DJ Scott T
- Heaven – DJ Tim Soul
- Pier’s Sagretry – Dance 100 with DJ Nigel and Dr Des
This vibrant live event scene was sustained and chronicled by the flow of new music and media that fueled the culture.
Music and Media Reviews
The culture of Adelaide’s scene was not only experienced on the dancefloor but also defined by the music being produced, imported, and discussed. The magazine’s review sections provide a snapshot of the sounds and media captivating the community’s attention during this week.
Record Reviews Digest
Imports
- IDJ feat. Sam Simmonds – “GIMME ONE”: A track described as “New York hard/handbag” notable for its “crystal clear vocals.”
- All Funked Up – “Rhythm Bringer”: Hailed as a “mad mad track,” this record was characterized by a “one chord horn, hard/keyboard stab.”
- Raw Stylin’ – “Use Me”: Praised as a “bomb” and a “brilliant groove,” this release was identified as a “laid back slice of soul.”
- Vibraphonic – “I Love You”: A key acid jazz track, drawing favorable comparisons to the work of the James Taylor Quartet.
Local
- Disco Fairy Boots EP: A local release simply described as “funky/festish.”
- Transformer 2 – “Can’t Just Get Enough”: This track was characterized as “trance inspired pop with gelly vocal.”
- The Subterraneans – “Taurus Moon EP”: A significant reissue from 1991, this EP showcased the work of “one of Adelaide’s finest producers.”
Global and National Music News
- The UK label Vapour Space was reportedly attempting to sign the track “It’s A UK Vapourspace.”
- Detroit techno pioneers Underground Resistance announced two upcoming albums: “Galaxy 2 Galaxy” and “World Power Alliance.”
- Drag superstar Ru Paul was expanding his media presence, releasing a book to accompany his album “SUPER MODEL Of The World” and taking on a role in the film “Johnny Mnemonic.”
- Hip-hop group Brand Nubian was attracting controversy for the lyrical content on their album “In God We Trust.”
Film and Video
- Film: On the cinema front, reviews were in for the thriller “Guilty as Sin”, starring Rebecca De Mornay and Don Johnson, alongside a retrospective look at the genre in “Westerns: Remember Young Guns?”.
- Video: The home video release of note was Jim Jarmusch’s critically acclaimed film “Night On Earth”.
This interplay of live events, music releases, and media consumption was all part of a larger cultural network supported by local businesses and community initiatives.
Community and Commerce
Adelaide’s club and street culture scene was not just an artistic movement; it was also an economic ecosystem supported by a network of businesses, media outlets, and community offers that catered directly to its participants. This commercial and social infrastructure was vital to the scene’s sustainability and vibrancy.
- Triple M Subscription: The local radio station Triple M offered a subscription for 35 (25 for students) that provided more than just on-air content. Subscribers received a discount card valid at key culture-focused retailers, including record stores like Treasure Chest and Chapter One, clothing stores such as Luomo Wardrobe, and various restaurants and bookstores.
- Retail and Services: Advertisements highlighted businesses integral to the youth scene. These included Youthworks Retail Co., whose “don’t label me!” slogan captured the independent spirit of the era; the Downtown Family Amusement Centre for entertainment; and music stores like Arkaba Music in Unley, which served as an essential point of sale for event tickets.
- Veloclassifieds: A dedicated classifieds section reveals the technological and economic underpinnings of the scene. A listing for an Akai s950 12 bit sampler, for instance, points directly to the tools of the trade. This peer-to-peer commerce was crucial for equipping the city’s aspiring DJs and producers, enabling the creation of the very music—from acts like The System AD to The Subterraneans—that defined the culture.
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